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Human, All Too (Post)Human
The contemporary has marked itself off from modernity by questioning its humanism that centers the world around the human as the moral subject of free will and self-determination, the bearer of universal essence that is the basis of human rights. Modernism normalizes humanism through language as referential, a set of interrelated signs that correspond to the empirical reality outside it. Humanist modernity, in other words, is seen in the contemporary as a regime that, by separating the human from the non-human and insisting on language as correspondence, not only fails to engage the emerging forms of social relations in which the boundaries of human and machine are fading but is also indiffe...
Stories in Post-Human Cultures
This inter-disciplinary volume represents the collective visions of post-humanist cyberculture scholars.
Reading as Democracy in Crisis
Reading as Democracy in Crisis: Interpretation, Theory, History explores the dialectic between historical conditions and the reading strategies that arise from them. Chapters covering Plato and Derrida; G.W.F. Hegel; Karl Marx; Ludwig Wittgenstein; Robert Penn Warren; Louise Rosenblatt; Theodor Adorno, Michel Foucault, and Jacques Derrida; Judith Butler; and Object Oriented Ontology and Digital Humanities provide overviews of and arguments about each subject’s thought in its historical contexts, suggesting how the reading strategies adopted in each case were in part motivated by specific historical circumstances. As the introduction explains, these circumstances often involved forms of democracy in crisis, so that the collection as a whole is an engagement with the dialectic between democracies that are perpetually in crisis and the seemingly unlimited freedom of our reading practices.
The Political Psychology of the Veil
Veiled women in the West appear menacing. Their visible invisibility is a cause of obsession. What is beneath the veil more than a woman? This book investigates the preoccupation with the veiled body through the imaging and imagining of Muslim women. It examines the relationship between the body and knowledge through the politics of freedom as grounded in a ‘natural’ body, in the index of flesh. The impulse to unveil is more than a desire to free the Muslim woman. What lies at the heart of the fantasy of saving the Muslim woman is the West’s desire to save itself. The preoccupation with the veiled woman is a defense that preserves neither the object of orientalism nor the difference embodied in women’s bodies, but inversely, insists on the corporeal boundaries of the West’s mode of knowing and truth-making. The book contends that the imagination of unveiling restores the West’s sense of its own power and enables it to intrude where it is ‘other’ – thus making it the centre and the agent by promising universal freedom, all the while stifling the question of what freedom is.
Bridge of Light
The definitive history of Yiddish cinema returns to print with additional material
Ludic Feminism and After
A provocative and controversial challenge to postmodern academic feminism
Textual Practice
The split between national and popular interests is examined through an analysis of Branagh's 'multicultural' Much Ado - 'a Shakespeare film for the world' and analysis of other popular works including Cocteau, Woolf and Neil Jordan's.
Being and Motion
More than at any other time in human history, we live in an age defined by movement and mobility; and yet, we lack a unifying theory which takes this seriously as a starting point for philosophy. The history of philosophy has systematically explained movement as derived from something else that does not move: space, eternity, force, and time. Why, when movement has always been central to human societies, did a philosophy based on movement never take hold? This book finally overturns this long-standing metaphysical tradition by placing movement at the heart of philosophy. In doing so, Being and Motion provides a completely new understanding of the most fundamental categories of ontology from a movement-oriented perspective: quality, quantity, relation, modality, and others. It also provides the first history of the philosophy of motion, from early prehistoric mythologies up to contemporary ontologies. Through its systematic ontology of movement, Being and Motion provides a path-breaking historical ontology of our present.
Class in Culture
"A gem of a book. Its topics are timely and provocative for cultural studies, sociology, English, literary theory, and education classes. The authors are brilliant thinkers and clear, penetrating writers." -Peter McLaren, UCLA, author of Capitalists and Conquerors: A Critical Pedagogy Against Empire Class in Culture demonstrates the power of moving beyond cultural politics to a deeper class critique of contemporary life. Making a persuasive case for class as the material logic of culture, the book is written in a double register of short critiques of life practices-from food and education to race, stem-cell research, and abortion-as well as sustained critiques of such theoretical discourses as ideology, consumption, globalization, and 9/11. Surpassing the orthodoxies of cultural studies, Class in Culture makes surprising connections among seemingly unrelated cultural events and practices and offers a groundbreaking and complex understanding of the contemporary world.
Theory of the Image
We live in the age of the mobile image. Our world is now saturated with moving images of all kinds, both analog and digital. This sea change in image production and circulation is nothing less than the Copernican revolution of our time. The centrality of the movement and mobility of the image has never been more dramatic. And just like the Copernican revolution, the aesthetic revolution of the image has consequences not only for the way we think about the contemporary image but also the way we think about all previous images. Theory of the Image offers a new and systematic philosophy of art and aesthetics from the perspective of movement--the first of its kind. Throughout history, the image has been understood in many ways, but rarely has it been understood to be, primarily and above all, in motion. Thus, Theory of the Image offers not only the first aesthetics of motion but also the first history of the mobility of the image in the Western art tradition, from prehistory to the present.
